. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. stage two windows coupled with asquare pier between, the belfry two largerarches divided by a mid-wall shaft. Theregular increase in number and size of theopenings towards the top is one of the mostconstant features of the Lombard tower. Therule has, however, its exceptions, as at Asti,San Zeno at Verona, etc., where the upperstages are substantially alike. The towerof S. Pietro at Bologna (Fig. 112) is aninstance of another principle, the superior breadth of treatment as we approach the summit: t
. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. stage two windows coupled with asquare pier between, the belfry two largerarches divided by a mid-wall shaft. Theregular increase in number and size of theopenings towards the top is one of the mostconstant features of the Lombard tower. Therule has, however, its exceptions, as at Asti,San Zeno at Verona, etc., where the upperstages are substantially alike. The towerof S. Pietro at Bologna (Fig. 112) is aninstance of another principle, the superior breadth of treatment as we approach the summit: the division of thewall by pilaster strips resulting in three vertical panels in the loweststory, two in the next, and one in the third, while in the belfry stagethe wall is flat from angle to angle, and each face has a pair of blindarches with a column between, each arch enclosing two coupled archedopenings. The singular tower of the cathedral of Mantua exhibitsthe same principle. The main portion of the tower of S. Pietro datesfrom about 1000, the upper portion, including the belfry and the. Fig. 112. Tower of S. 174 ARCHITECTURE IN ITALY domical termination of a somewhat fantastic character, is presumablysome two hundred and fifty years later. It is interesting to trace theadhesion to the ty})c in certain towers which exhibit a strongly indi-vidual character. In S, Frediano at Lucca (see Fig. 204), the tower,which stands detached at the side of the choir, has but two horizontaldivisions, of which the first comprises four stages of windows, thelowest of a single opening, the next with two, the others with threeeacli, all these stages being enclosed in a single bay which terminatesin an arched corbel-table. Mothes assigns the lower portion of thisbay to the later years of the seventh century, and the upper ])ortion tothe first years of the twelfth, though there is no a})parent break inthe continuity of the design, which was completed in still later timesby the a
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectarchite, bookyear1901
